4 Hoquet Perpetuel for orchestra .pdf

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hoquet perpétuel
for orchestra
Alexander Kolassa
(2012)

The first impetus for this piece was a short passage of music I had written originally for
the combination of piano and marimba. For me, hoquet perpétuel began as an
experiment in orchestration, in which I explored different ways to distribute the material
(originally written for two instruments)—constructed using recursive techniques and
integer sequences—across an entire orchestra. The intended result was that the material
should be entirely unrecognisable when compared alongside the original instrumental
source material. The ‘hocket’ technique—processes of this kind are found throughout
many musical cultures, see particularly the Kotekan in Indonesian gamelan—involves the
alternation of sound materials across multiple voices, and this became my primary
preoccupation here.
I have attempted to explore the various ways in which a hocket-like effect can be treated
within an orchestral context. Melodies are constructed through the exchange of pitches
on both the micro and macro level (i.e. through a duet between two clarinets, or across
the entire string section) and seek to exploit in various ways the spatial and geographical
possibilities inherent within the orchestra –that is to say, the physical space and
configurations between different instruments or combinations of instruments.
Despite all this academic and conceptual discussion, I hope that what really comes across
to the listener for much of the piece is a Stravinsky-esque sense of rhythmic immediacy
and interplay (and fun, too). For a slower middle section the lively hockets disintegrate
briefly into more slowly changing textures made of klangfarbenmelodie figures which
struggle, languishing behind contrasting chorale-like passages that emphasise dissonant
minor 2nds (the piquancy of which forms the harmonic basis of the whole work). The
piece is rounded off with an even more overt – and overtly enthusiastic – return to the
opening hocket material. This is designed to give the orchestra a real work-out before an
abrupt and striking, though with luck also satisfying, end.

(programme note: November 2012)

2 flutes
2 oboes
2 clarinets in Bb (2 doubling on bass clarinet)
2 bassoons

2 horns in F
2 trumpets

percussion (2 players)
(1) timpani, suspended cymbals, woodblocks, triangle, tam-tam, 3 tom-toms

vibraphone

strings

hoquet perpétuel
for orchestra
Alexander Kolassa (2012)

getting slightly faster

slow, crawling (c. q = 65 )

Flute 1

 














      

mp

Flute 2

Oboe 1

Oboe 2

Clarinet in Bb 1

 















 
































 





 








 



Clarinet in Bb 2










Bassoon 1

Bassoon 2

Horn in F 1







 



 
    



mf

Horn in F 2


   
p

Trumpet in Bb 1

 
   




 

mf


  

p


  


  






  







    







con sord.

p

p


  
mf

p

f

mf

Trumpet in Bb 2





p



 







     

mf

slow, crawling

 
Violin I  































senza sord.









f























p



p



p


con sord.



con sord.





f

pp

f







(c. q = 65 )


susp. cymbal


 



  
  

pp




Violin II





 



 



Contrabass




 





  
   

 





sul pont.















 
  


  
 
  



 


 
  




 

mf




  


mp




     

pp











mp



pp





getting slightly faster



mf

Violoncello



p

p

Viola




mp

p

 






getting slightly faster



Vibraphone





slow, crawling (c. q = 65 )

 
Timpani 


Percussion 1








con sord.

 
 


 

mf



mf



p

mp

Bass Clarinet
in Bb

  



3

 



mf












    


arco. (nat.)

pp





pizz.

p


  









    





    





pp

p

  
p

mf

p

2

8



Fl. 1  



   
pp





Fl. 2

 


  
f

to Piccolo

energetic (c. q=74 )

 







p




  

  
   


  

  
   

f










mp





Ob. 1





        



  







    
 









  



    











f





Ob. 2





  
f


   
   


    

Cl. 1











   

f

p

B. Cl.















 

f

Bsn. 2







 

 
 
 
 













f

Bsn. 1

   



  




























 




  
f

 
 

  
f

fp





Tpt.1





   





senza sord.



Tpt. 2

Timp.












  




f









energetic (c. q=74 )
















mf







   



 



  


  


  

f

fp



 






































f

































Perc. 1

Vib.


  

fp

f





      

fp



Hn. 2





p








  



f

Hn. 1






energetic (c. q=74 )


Vln. I 


Vln. II





pizz.




 

f



 


  







pizz.

mf



Vla.












arco



 



 



















  










f

pizz.





arco

arco





f



Vc.

pizz.






f

Cb.













arco





pizz.

f







arco.










  

  
   

ff



















  






  


 








3

Picc.


12
  




Fl. 2

        

 

        

 
 









 

to Flute











 











  
            



























f

f

Ob. 1







 
       





















 

   

f

  
 

Cl. 1

 

B. Cl.




 



 







to Clarinet in Bb





  

f

Bsn. 2



 












p

 

Hn. 2

 



Tpt.1

 

Tpt. 2








         



 

  

f




 

  
  


 

















p















   

 







 


   




mf



 
  

mf

      



  




















 


   











     


 

con sord.
















   


 


















            


 

con sord.
















            


 

senza sord.


















  
 

























     
 














      








 




  

p

Timp.








f

 


Hn. 1






p

 

Bsn. 1








Ob. 2

 

p

mf


 





 
       
f





woodblocks

 

Perc. 1

Vib.

Vln. I

               













 

pp

mf








f

 

  
   

     


                 


    



   

     

   





pp

mf

 

Vln. II

 

Vla.





 






f

Cb.



 
















 
    



























f

pp

Vc.




ff

pp

p

 
    

 
   
f



  

 







 
     
 














  

   

















f






4

17

Fl.

Fl. 2

Ob. 1

Ob. 2

 
 
























 
























 




































    
  



   



  

 

f

Cl. 1

 
 



  
   


f

Cl. 2

Bsn. 1








mf


      
  

f
  
     



 
mf

 








 






 




 

   











  
 




  

  



 



   






















 






 
   


 
  

   

  
    







f

Bsn. 2



           


Hn. 2

Tpt.1

Tpt. 2

Timp.

 
 
























 
























 
























 























 
 


































      

(+ indicates held, o indicates open)

triangle

Vib.

Vln. I

Vln. II

Vla.

Vc.

Cb.

o

o

      
 

+

Tri.



  

  
pp

mp

pp

Hn. 1



+

+

+

o

+

o

+


  























 
 
























 
























 

















































 























5

22

Fl.

Fl. 2

Ob. 1

Ob. 2

 





















  












 

Cl. 2

 

  

mp

Bsn. 1

Bsn. 2

Hn. 1

 



   
 


  

mp

  








   

 
 

  





    



mp

mp

Cl. 1





 














 



 
 

Tpt.1

Tpt. 2

Timp.

Perc. 1

  









   

 

  









 





  




































 











 
 

 




  








 

 
mf

      


  


 
   

mp



 

   
p



 
mf


      

   
p

senza sord.



mf

 
 









 













 
Vln. I   





   
  

p






 



  
  

  
  

pp

 



  



  



mp

  

 

pp

Vla.





  


Vib.    

Vln. II

 



  



p

Hn. 2

 








  


    



mf

 

  

 





 

mf

  

  
















 







 




 

  
  

mp





 





 

p

Cb.



p



 
   

mp

p

p

Vc.







   





  

  
f




 









p











6

26


Fl.  


 

  
 


         





 

 
     



 

Fl. 2






 

     


        
pp

f

pp

pp

pp

f

 






Ob. 1




  




   


   










Cl. 2



Bsn. 1


































 









    
  
mf 








3






3

3
        






































Hn. 2

Tpt.1

Tpt. 2

Timp.





















































3

     

   
   
f



mf

  

  
3

3





































 
  





f

3









     



      
  



Bass Clarinet
in Bb

   

  


f

  
     



 
  






f


 
 
 
f

  











  

 

 

  



mf






















































 




f








 
 


 







  



 






  



 




  











f



f



f




 
 

 












  

























 



ff

ff


  
ff

ff








ff





































































Perc. 1

        

  
 
Vln. I 
pp

f



Vln. II

 

 

Vla.

          


   

 

pp

f


 
pp


  

ff

 

Vc.



 








 
f







pp





  




  











  

        














                  
 







   
 
f





  


   




f

p



  
    
  



ff

p f

f

f

ff

 











 

f

p


 

   

         







f

Cb.



3

f

Vib.



f

pp

Hn. 1








mf

Bsn. 2

f

f

mf





  
       


3








3
      

 


mf


  

pp

Cl. 1

f

  
 
 

pp

Ob. 2

ff




f

    


f

p




p

  
 
       
f


 

 
   
 
 

 
ff












  
  

 


   
  
ff

 



 


  
  

 


   
  

 







 



  



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